Two productions in Italy made our critic wonder about the fate of the story of a perfect instrumentalist in a world where music is omnipresent.
Author Archives: CORINNA da FONSECA-WOLLHEIM
Aristocrats played it; Stalin feared it. Now the eerie, droning hurdy-gurdy is having an unlikely renaissance with masters like Matthias Loibner.
The Continent’s premier concert halls pick a small class to go on tour. But the venerable institutions may benefit as much as the up-and-comers.
The Oscar-winning actor concentrates on subtle acting in his new production of “Falstaff” at Opera Vlaanderen in Belgium.
The opera company has reflected changing political weather in Germany for 275 years. Now it is shaped by its conductor, Daniel Barenboim.
Janine Jansen, a star in Europe, claims one of New York’s musical prizes this season: a Perspectives series at Carnegie Hall that begins on Dec. 7.
A coming installment of the group’s series at Riverside Church features the harpist Jacqueline Kerrod, and works by John Luther Adams and Adrienne Albert.
The company, known for fresh productions of classics, presents the 1651 opera “La Calisto” at La MaMa through Aug. 26.
A slew of new performances — new music and classics — are asking players to use their bodies as much as their sight-reading skills.
Mr. Peskanov, the artistic director of the floating concert hall on the East River, will perform two sets on violin.